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Pan Y Rosas Discos

Review: Helena Ford – Wir Brauchen Angst. Und Schade

Review: Helena Ford – Wir Brauchen Angst. Und Schade

PAN Y ROSAS. Donate to Assata’s Daughters here Spread over an extended duration that conveys the sheer length of time it takes to transition, the two hours of Wir Brauchen Angst. Und Schade dwells entirely between disappearance and emergence. These pieces often fixate on wisps, traces and brittle high

Review: Cecilia Lopez + Wenchi Lazo – Abailable

Some improvisations seem less about dialogue – listening, responding, listening – and better resemble an agreement to let loose at a set time. Abailable starts with the sound of two musicians dragging crates of jumbled sound to the edge of a hillside: old Casio keyboards, toy synthesisers, MIDI trigger pads, spaghettis of

Radio: Resonance Extra – Episode 1 (24/01/2017)

In the first edition of the ATTN:Magazine radio show on Resonance Extra, host Jack Chuter talks to Keith Helt of Pan Y Rosas Discos (a Chicago net label releasing improvisation, noise and weirdo rock from around the world) and runs through a few of ATTN’s favourite cuts from

Review: Sarah Rasines - Tommy Hilfiger

Your first listen to Tommy Hilfiger will pass you by. A rumble of thunder, a steady throb of electronics, an accordion jaunt. Gone. What just happened? It’s like a cryptic voicemail message, building up to a deep confession before bottling it and cutting the line dead. Rasines leaves me

Review: Mars-96 - Live At Dada

There’s too much energy rumbling through Mars-96 to guarantee anything longer than 30 seconds of rhythmic coherence (melodic coherence never gets a look in). For fleeting stretches, everything locks down – drums solidify into jackhammer rhythms while the guitars twitch uncomfortably within the state of unison, lingering upon the idea

Review: Rosalind Hall + Ada Rave - A Trail, A Texture

It’s as though Rosalind Hall is wielding a hand-held fan, pressing it against surfaces so that it buzzes in frictional complaint, without applying the necessary pressure to stop the blades entirely. It’s a delicate navigation of brinks and almosts – her saxophone lingers upon single notes and tilts them,

Review: Iris Garrelfs - Breathing Through Wires

“It’s a bit weird up here,” Garrelfs declares to her audience during the opening of the album’s first track, which was recorded at the Montague Arms in London, 2014. “Usually I play on stage. I can’t see you; it’s even weirder.” And then, through the commotion